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My first Wired column is online. It's a piece called "Reading Green Tea Leaves in Tokyo" and it's about how capitalism shows different faces in different places, how some of its localized versions are less toxic than others, less injurious to human health and human intelligence, and whether these differences are down to consumers or producers.

Scanning the Wired site, I found a really nice article entitled How mobile phones conquered Japan. It's a review of a new English-language book called Personal, Portable, Pedestrian: Mobile Phones in Japanese Life. The article made me realise how scarred my brain has become by reading (and refuting) the daily doses of crusading cynicism going on over at Neomarxisme. I now half expect every book about Japan to be an exposé of conspiracies, yakuza control, or gripes about a system that's headed for oblivion. So it's tremendously refreshing to read the conclusion of the Wired piece: "By understanding how a once-alien technology became such a natural extension of everyday life in Japan, we may yet understand what is in store for the rest of the world."

Xeni Jardin, who wrote the piece, comes to this delightfully Japanophilic conclusion (its optimism matches my own basic feeling about Japan) not after turgid, cynical analyses of the business structure or marketing history of the keitai, but with a look at Japan's history, and specifically at cultural precedents like "the legend of Sontoku (Kinjiro) Ninomiya, a Johnny Appleseed-like national folk hero often represented in statues outside bookstores and schools... most often remembered reading as he walks, burdened with bundles of firewood gathered in daily chores. The book points to this multitasker ancestor as a precursor of contemporary nagara ("while-doing-something-else") mobility, a concept now embodied in students who wander from home to class and back again, eternally gazing into a palm full of e-mails."

This sense that Japan's technological modernity (and even avant gardism) might be rooted not in incomplete emulations of the West but in something very ancient, folksy and specifically Japanese is exactly what I feel about the country; that it's a place where, as I put it in my Superlegitimacy essay, trains may look like Western trains, but are actually "a set of Japanese etiquettes and assumptions travelling through space".

I asked Hisae about this idea of the "multi-tasking tribe", the Nagara-zoku, and she came up immediately with an even older, more folksy ancestor: Prince Shotoku Taishi, a medieval multi-tasker so intelligent that he could listen to what ten people were saying, all speaking at once. He's the man in the statue to the left, and he would have loved the keitai.

It might seem odd to hold the view that Japanese phenomena are so rooted in local Japanese traditions, and yet applicable (by "Japanization") to the rest of the world, but I don't think it's a contradiction. When I think of the really successful Japanese products—Pokemon, or the films of Miyazaki, for instance—they're successful because they're full of a very specific Japaneseness. Their universality is rooted in their particularism, and their global reach comes from their local resonance.

It's odd that Marxy and I have such different views of Japan—mine culturalist, aestheticist, utopian-evangelical, his structuralist, business-oriented and pessimistic—and odder still to read, in a recent Marxy interview, that my early essays about Japan (he cites Shibuya-kei is Dead) were a big influence on the young Marxy: "He was the only one I could find who really understood what was going on there."

But it wouldn't be the first time theologians (because that's what we are, Japan theologians) have diverged. I was watching a documentary last night called "God's Rottweiler", a biography of Pope Benedict. Joseph Ratzinger and Hans Kung were both modernisers in the 1960s, responsible for bringing the Catholic church into the 20th century (Vatican 2 saw the end of Latin mass, for instance). But they soon diverged, Ratzinger deciding that liberalization was making the church lose its identity, and Kung heading leftwards into Marxist-influenced Liberation Theology. (There's a nice joke about Ratzinger and Kung at the Pearly gates here.) So which of us is Ratzinger and which of us is Kung? I leave that up to you to decide.

"the Momus" of the 00s? Thanks goodness NOT!

Date: 2005-08-23 10:21 am (UTC)
From: (Anonymous)
Well maybe now you are the voice of the Westerner in Japan. What Momus was to you in the 90s may be who you are to curious people in the 00s. Especially since the distribution of Japanese popular culture has saturated the masses.

I don't think I'm "the Momus" of the 00s when it comes to Japan, because he always has been "selling Japan" to a certain extent. I think he got people (including me to some extent) excited about what was going on there in the late 90s. I am not really selling Japan as much as selling the idea of "understanding Japan." And like with anything, the more you understand it, the less you idealize/worship it.

I also feel the responsibility to correct a lot of the common misconceptions about Japanese pop culture that abound in the Western media. They are slow to the story, and what’s nice about blogs and the Internet, is that we can provide real-time coverage.

I get such a reputation for being a grump or jaded or "disillusioned" or "a bitchy Westerner" when it comes to Japan, but if you want to start being disillusioned about Japan, the only thing you have to do is pull back the curtain and look at the way the cultural industries work here.

Re: "the Momus" of the 00s? Thanks goodness NOT!

Date: 2005-08-23 10:30 am (UTC)
From: (Anonymous)
If you're going to make fun of my interview text, you should blockquote it or something. Or compare it to lyrics by the Grass Roots etc.

Marxy

Re: "the Momus" of the 00s? Thanks goodness NOT!

Date: 2005-08-23 10:33 am (UTC)
From: [identity profile] imomus.livejournal.com
Yes, that's a relevant quote, and he makes a good point there. Then again, I would just question why "Japan" needs to be in the last sentence. Look closely at any media system anywhere and you tend to get disillsioned. That's why there are so many bitter artists who hate the art world, musicians who hate the music biz, etc. But I would question whether that cynicism and bitterness is objective in the way the metaphor "pull back the curtain" suggests.

The veil of Gaia (http://www.theoi.com/Protogenos/Gaia.html), if you know your mythology, turns out to be made of forests, and Gaia herself is "a buxom, matronly woman, shown half risen from the earth, unable to completely separate herself from her element". In other words, you can't tear away the veil without tearing away the substance too.

Re: "the Momus" of the 00s? Thanks goodness NOT!

Date: 2005-08-23 10:53 am (UTC)
From: (Anonymous)
yeah, nice metaphor, nick...but isn't the point that gaia ISN'T trying to sell you digital pics of her buxom, matronly self for 99 cents a pop on some internet site that has been tweaked by some market study? if she WERE, i'd say (and marx AND marxy DO say): if we aren't going to tear that cheap harlot's veil away, let's at least show the people what she's got going on behind there.
best,
r.

Re: "the Momus" of the 00s? Thanks goodness NOT!

Date: 2005-08-23 03:59 pm (UTC)
From: [identity profile] imomus.livejournal.com
I wouldn't equate Marx and Marxy so glibly when Marxy so consistently derides public ownership. He supports Koizumi on the privatisation of the Post Office, and on this very page he blames slow DSL take-up in Japan on "government over-regulation". What kind of Marxism is that? Very "neo" indeed, methinks! But it's true, he does have the same surname as Marx, you got that right.

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